Dumbstruck - 3 smiles

The world of ventriloquists is a fascinating one and that quality comes across in “Dumbstruck,” a documentary written and directed by Mark Goffman. The movie opens at the annual ‘vent’ gathering, the Vent Haven convention in Fort Mitchell, Ky. As the camera makes the rounds of workshops and performances, Goffman introduces us to his cast of characters. There’s 13-year-old Dylan, a white kid with an African-American puppet. Kimberly is a former Miss Ohio in her early 30s, who’s been performing at elementary schools and longs to break into the cruise-ship circuit. Dan is king of the cruise-ship vents, but his marriage is crumbling because of his lengthy absences. There’s Terry, painting houses and mowing lawns for a living, unable to get away from work to attend the convention. And, finally, there’s 6’ 5” Wilma, who performs at nursing homes where the entertainers outnumber the audience and is barely making ends meet. In fact, she comes home to find an eviction notice posted on her front door.

Goffman weaves a gentle narrative as the camera moves easily from one character to another. Kimberly goes on a cruise with her sister and tries to talk the ship’s entertainment director into letting her do a brief performance. Dylan’s efforts to get his first ventriloquist’s gig prove awkward and embarrassing. Dan tries desperately to hold his marriage together via email and phone calls. With Terry, we see him with his break-through performance on “America’s Got Talent,” when his puppet sings ‘At Last’ in perfect Etta James fashion. After winning this competition, Terry goes to Vegas, first at the Hilton and then at the Mirage with the most lucrative contract ever. Each character is open about his/her passions for ventriloquism, but it’s clear that not all have the requisite talent that will allow them to make a living ‘playing with dolls.’ “Dumbstruck” demonstrates that ventriloquists are lonely, shy and socially challenged people who need the help of a ‘friend’ to say things that they can’t. Nonetheless, it’s an engaging film. 5/29/11

The Hangover 2 - 1 smile

The only positive element in The Hangover was director Todd Phillips’ creative approach to telling a story. Unfortunately, once you know that formula, there’s nothing original about its sequel, “The Hangover 2” because it’s déjà vu all over again, only raunchier and less funny. That means Ken Jeong is back as the foul-mouthed gangster Mr. Chow who gets to jump around naked (again) and Mike Tyson proves he can’t sing. One of the few new faces is Paul Giamatti as a growling American. And because the setting is Thailand, Phillips pushes the limits of his R rating for all it’s worth: there are a lot of bare breasts, an exposed male butt and a transsexual’s scrotum.

Everyone’s in Thailand for the wedding of dentist Stu (Ed Helms, whose high-pitched screaming throughout the film drove me crazy) to Lauren (Jamie Chung). Stu doesn’t want a bachelor party, but he gets one, of course. A night of extreme debauchery (again) leaves our heroes clueless and foggy-brained, unable to recall anything from the night before without photographic evidence (saved for the end credits). Phil (Bradley Cooper) (again) leads the investigation into what happened because the bride’s kid brother, Teddy (Mason Lee, son of director Ang Lee), has disappeared, leaving behind a severed finger. From there, “Hangover 2” replicates the search, with stops at bars and strip clubs, run-ins with angry Russian gangsters and angrier Buddhist monks, and a running gag involving a pet monkey that wears a Rolling Stones jacket and likes to smoke cigarettes. “The Hangover 2” isn’t really a sequel; it’s the same movie with a different setting and if I didn’t like the original, I really didn’t like its sequel. 4/27/11

Pirates of the Caribbean: On Stranger Tides - 1 1/2 smiles

Unfortunately, “Pirates of the Caribbean: On Stranger Tides” is going to do blockbuster business at the box office despite an extremely weak plot. People familiar with this franchise don’t really expect a good story. They’re satisfied with a costumed Johnny Depp, a few bad guys, gratuitous special effects and some action sequences. And that’s exactly what you get. It’s as if the producers believe that more spectacle you have, the less you need a coherent narrative. Basically, ‘On Stranger Tides’ is a treasure hunt. Captain Jack Sparrow (Depp) is looking for the Fountain of Youth, accompanied by an old flame, Angelica (Penelope Cruz) and her father, Blackbeard (Ian McShane). There are two other groups involved in the race for the prize: a small army of Spaniards and an English privateer captained by Barbossa (Geoffrey Rush). Along the way, Captain Jack discovers that he must also collect two chalices and the tear of a mermaid.

Johnny Depp can probably play this role in his sleep and, sometimes, it seems that’s just what he’s doing. Gone from the story are Elizabeth Swann (Kiera Knightley) and Will Turner (Orlando Bloom) and in their place is a weak romance between a missionary and a mermaid. Kiera Knightley’s energy and spunk are sorely missed. Rob Marshall’s direction is competent and, obviously, competent is all that is required. Finally, I urge you to forget about the 3D version. The extra fees associated with 3D only pander to the money-grubbing studios and their bottom line. The 2D version is brighter, clearer and … well, cheaper. As a movie, “Pirates of the Caribbean: On Stranger Tides” is pretty awful unless you want to put your mind in neutral and not think for 2 hours and 15 minutes. But if that's the case, it’s a success. 5/21/11

Midnight in Paris - 4 smiles

“Midnight in Paris,” written and directed by Woody Allen, is a romantic comedy with elements of magical realism and time travel. It’s also one of his best films in recent years with its engaging premise, appealing cast and alluring scenes of Paris. Owen Wilson plays Gil, a frustrated TV writer who is engaged to the abrasive Inez (Rachel McAdams). The pair accompanies her smug, ultra-conservative parents on a business trip to Paris. As a couple, they are obviously mismatched. He’s a simple guy who dreams of writing a novel, a notion the materialistic Inez scoffs at. One night, instead of going out with Inez and her snobbish friend, Paul (Michael Sheen), Gil opts to wander the streets of Paris. Shortly after midnight, an old-time roadster pulls up alongside him and a group of partygoers urge him to join them. Gil finds himself transported to another era and he meets, among others, F. Scott Fitzgerald (Tom Hiddleston), Ernest Hemingway (Corey Stoll) and Salvador Dali (Adrien Brody). Hemingway introduces him to Gertrude Stein (Kathy Bates), who gives advice on the novel Gil has been quietly writing. At Stein’s house, Gil meets Adriana (Marion Cotillard), a beautiful woman who is the complete opposite of Inez. While Gil couldn’t be happier in the Paris of the ‘20s, Adriana pines for another era she considers golden – turn-of-the-century Paris, La Belle Époque.

“Midnight in Paris” has a clear idea about longing for an idealized past. When Gil sees Adriana yearning for a better time, he realizes that no period is idyllic and that he can find happiness in the present. Owen Wilson is clearly a stand-in for Allen and occasionally, you can almost hear Woody speaking the lines. Gil, however, is not neurotic, which allows his character to be more sympathetic. And Wilson does a superb job as Gil, with his trademark naïveté and goofball look. And many of the secondary characters are scene-stealers, including Kathy Bates, Corey Stoll and Adrian Brody. “Midnight in Paris,” a definite love letter to Paris, is whimsical and smart and sure to please. 5/20/11

Everything Must Go - 3 smiles

If you saw Will Farrell in Stranger Than Fiction, you know he’s very effective when he’s in serious mode and since I prefer Farrell when he’s not slap-sticky silly, I really enjoyed this film. The narrative, like The Beaver, deals with a serious topic although rather than depression, director Dan Rush explores alcoholism and its effects. There are no great epiphanies in this predictable script, but this involving character study provides Farrell with the opportunity to demonstrate that he’s capable of a subtle performance. Nick Halsey (Farrell) loses his job as a salesman with a business in Phoenix. He argues that his drinking is under control, but there are references to an incident on a trip to Denver. As Nick pulls into his driveway at home, he sees everything that belongs to him strewn about the front yard. Among other things, there are records his DJ father had, a set of samurai swords, a recliner and a mini fridge that he will use to keep his beer cold. Nick is planning to live in the yard, but the police have other ideas. Then his friend, Det. Frank Garcia (Michael Pena), who is also his Alcoholics Anonymous sponsor and understands his struggle, gives him a few days reprieve. But as a result, Nick must conduct a yard sale. Kenny (Christopher Jordan Wallace, son of Notorious B.I.G.), a lonely kid who bikes around the neighborhood, agrees to help Nick label everything and make signs for the sale. Samantha (Rebecca Hall), a pregnant woman who moved in across the street ahead of the arrival of her husband, offers a sympathetic ear. However, as with most drunks, Nick’s volatile behavior will affect his relationships negatively.

Farrell’s performance is so poignant that you’re rooting for him. His Nick has hit rock bottom and you hope that he’ll get another chance. Also effective is the young Christopher Jordan Wallace as a normal kid who is thoughtful and self-possessed although clearly Kenny is in need of a friend. Laura Dern gives a touching performance in a small role as a high school friend Nick visits. “Everything Must Go” is an engaging movie, both sad and satisfying. 5/19/11

Priest - 1 smile

Although “Priest” details a back story with its opening prologue, this movie, in reality, is one big back story. Just when you’re getting to the interesting plot points, the movie ends. Obviously setting up for a sequel. Unfortunately, there’s not going to be one. And talk about derivative! No wonder this movie feels familiar. You’ve seen it before in The Matrix, The Searchers, Star Wars and Blade Runner to name a few obvious references. “Priest” manages some interesting visuals, a few decent action sequences and capable Paul Bettany and Maggie Q as vampire-battling priests, but the rest of the movie is just silly. Skip it. 5/17/11

Jumping the Broom - 2 smiles

It’s the haves versus the have-nots in “Jumping the Broom” and both groups are snobs who air their biases without any social filters. The film offers two African-American families who meet for a wedding on Martha’s Vineyard where the contrast in class divisions is all the more visible. And although Angela Bassett and Loretta Devine are exceptional actresses, their performances suggest they were asked to over-dramatize every scene. Plus director Salim Akil asks viewers to buy into major issues of classism, infidelity, bankruptcy and paternity, all in less than two hours. But since this is supposed to be a romantic comedy (with a lot of melodrama thrown in), you can’t expect it to explore these themes too deeply.

The Watson family opens the doors of its magnificent Martha’s Vineyard compound to the blue-collar, Brooklyn-based Taylors when daughter Sabrina (Paula Patton) rushes into an engagement to Wall Street up-and-comer Jason (Laz Alonso). It’s rushed because she will soon take a job in China. The families meet for the first time on the day before the wedding and the conflict between the two mothers, Bassett’s Claudine and Devine’s Pam, takes center stage. Promising subplots never fully develop, but they include a bridesmaid (Meagan Good) with a penchant for picking wrong men who hooks up with the wedding chef (Gary Dourdan), a university student (Romeo Miller) with an eye for Pam’s best friend (Tasha Smith), and Claudine’s black sheep sister (Valarie Pettiford). Events rush to a happy conclusion without any credibility. 5/15/11

The Beaver - 2 smiles

In “The Beaver,” Mel Gibson plays Walter Black, a severely depressed CEO who finds a shabby brown hand puppet in the trash, puts it on his arm and proceeds to let it take over his live. Is it possible for a depressed man to heal himself by projecting his personality onto a hand puppet? If you can accept this premise, you’ll probably like this movie. But the other obstacle you’ll need to hurdle is Mel Gibson, the man. There’s no doubt that Mel Gibson, the actor, gives a stellar performance, but his life is in ruins due to alcoholism. And the headlines he’s made recently, his rages, his violence, his anti-Semitic remarks, can’t be ignored. Can you suspend enough disbelief?

Jodie Foster directed the movie from a script written by Kyle Killen and cast herself in the thankless role of Walter’s supportive wife, Meredith. Depending on the situation, Meredith’s expression is bewildered, distracted or loving. Essentially, the story line goes like this: Walter has a mental breakdown and starts talking like a cockney beaver; then he has another break and doesn’t. There’s an elaborate subplot about his angry son, played by Anton Yelchin, which detracts from Walter’s story and shifts everything from dealing with mental illness to repairing a father/son relationship. As good as Gibson is, his character is still caught between the tragedy of the man and the silliness of the beaver. 5/6/11

The First Grader - 3 smiles

“The First Grader” is a dramatic re-enactment of 84-year old Kimani Ng’ang’a Maruge’s efforts to learn how to read. When the Kenyan government made education available in 2003, Maruge, an illiterate member of the Kikuyu tribe, enrolled in a small rural primary school, claiming it was his right. In doing so, he becomes an inspiration and a role model. He is later invited to address the United Nations in 2005, but in his own country, his efforts are controversial. Director Justin Chadwick, who provides a textured glimpse of Kenya’s land and people, tries to honor the uplifting aspects of Maruge’s life while doing justice to its political and social complexities. “The First Grader” is both thought provoking and emotional story, with frequent shifts from past to present. Maruge took part in the Mau Mau uprising against the British in the 1950s. During that time, he was tortured, his family was killed, and he spent years in British-run prison camps. Memories of the brutal years before independence trouble Maruge’s old age. The conflicts of the past resonate in modern Kenya, especially the legacy of tribal conflict. Rather than be proud of Maruge, the politicians (and some of Maruge’s neighbors) are suspicious of his motives and worried about the effect he will have on the children who crowd into the tiny schoolhouse run by Jane Obinchu (Naomie Harris). By admitting Maruge to her class and then refusing to reverse her decision, Jane risks her career, her safety and her marriage.

I had the opportunity to listen to producers Richard Harding and Sam Feuer, director Justin Chadwick and actress Naomie Harris talk about making this movie. Harding and Feuer explained that everything started when they read a story in the LA Times about Maruge, who had fought for Kenya’s freedom and years later was still willing to fight for education. When Chadwick got the script in 2009, he went to Kenya to meet with Maruge and he learned about the oath the Mau Mau made to protect the land and that the British were unable to force Maruge to renounce his oath. After deciding to shoot the film in Kenya, Chadwick selected two elementary schools to use as sets and gained permission from parents and village elders to film there. Naomie Harris developed lessons to teach so the children’s reactions would be genuine. In the pivotal role of Maruge, retired Kenyan anchorman Oliver Musila Litondo’s innate dignity is an asset. “The First Grader” offers a balance between humor and tragic gravity and the result is a story sure to stir the hearts of everyone in the audience. 5/13/11

Double Hour - 3 1/2 smiles

Because nothing is as it seems in this twisting thriller from director Giuseppe Capotondi, “Double Hour” requires you to pay attention and, perhaps, see the movie a second time. The movie, which won its stars, Ksenia Rappoport and Filippo Timi, best acting awards at the 2009 Venice Film Festival, will take mystery aficionados on an exhilarating ride. After about 20 minutes into the plot, the story slips into a parallel reality that may or not be the dream world of a woman in a coma. Then, during the last third of the 96-minute running time, “Double Hour” shifts back to the former reality as our heroine, Sonia (Rappoport) regains consciousness in a hospital after a traumatic shooting. According to Guido (Timi), Sonia’s boyfriend, the ‘double hour’ refers to the moment on a digital watch when the numbers of the hour and the minute are identical, like 10:10. If you happen to catch those numbers, you can make a wish. Rappoport and Filippo’s work is subtle and absolutely pitch perfect. On one level, “Double Hour” is a love story and a story of forgiveness, trust and second chances. On another level, it’s a psychological puzzle, pulsing with mystery and suspense.

Sonia (Rappoport), a sad-eyed Slovenian émigré to Turin, works as a chambermaid. At a speed-dating event, she meets Guido (Timi), an ex-cop who works as a security guard at an elegant private villa on the outskirts of town. Something clicks as the two trade introductory chatter and it’s not long before they fall into a serious romance. While on a romantic woodland stroll in the back of the estate where Guido works, they are approached by masked robbers to tie them up, drive two large trucks through the gates and ransack the place of its art treasures. When one of the robbers threatens to rape Sonia, Guido struggles to stop him and the gun goes off, killing Guido and grazing Sonia’s forehead. Then the movie abruptly cuts away from the crime scene. “Double Hour” which touches on romance, thriller, psychological puzzle and film noir, is a movie Alfred Hitchcock would love. And with it’s a diabolical mind games, it’s a movie you won’t want to miss. Subtitles. 5/5/11

Something Borrowed - 1 frown

As a rule, I like rom-coms and am willing to suspend a lot of disbelief. But the characters have to be likable and the story halfway plausible. Unfortunately, with “Something Borrowed,” you have a big disappointing mess. First of all, who’s going to believe that Ginnifer Goodwin’s character, Rachel, is a plain Jane and Colin Egglesfield’s Dex, a handsome Tom Cruise look-alike, is the tongue-tied, wimpy hero? And why would Rachel consider Kate Hudson’s self-absorbed Darcy her best friend for so many years? John Kransinski’s Ethan, Rachel’s best friend, is the best thing about this awful movie. He doesn’t get the girl although he should and he’s not the leading man although he should be, but, at least, he gets some of the best lines. And speaking of the script, how can Rachel and Dex be likable characters when he’s having an affair with Rachel while he’s engaged to Darcy? And neither Rachel nor Dex wants to hurt Darcy by saying anything. Huh? Avoid this gruesome rom-com at all costs. 5/8/11

Thor - 3 smiles

Under the creative hand of director Kenneth Branagh, “Thor” is a more layered story than one might expect from a superhero movie. And since it was converted to 3D after it was shot in 2D, skip the uncomfortable glasses, the extra fee and murky scenes. In 2D, you have vibrant colors, a spectacle of special effects and nonblurry action sequences. If there’s a weakness, it’s the central love story is given so little time that it feels nonexistent. The prologue introduces the inhabitants of Asgard: the king, Odin (Anthony Hopkins) and his two sons, Thor (Chris Hemsworth) and Loki (Tom Hiddleston). An impulsive retaliatory strike by Thor into Jotunhelm, the home of the Frost Giants, with the goal of capturing (or killing) the Asgardians’ enemy, Laufey (Colm Feore), the Frost Giant King, endangers Asgard and enrages Odin. He strips his first-born of his powers and banishes him to Earth. There, Thor is found in the middle of the New Mexico desert by scientists Jane Foster (Natalie Portman), Erik Selvig (Stellan Skarsgard) and Darcy Lewis (Kat Dennings). As Thor attempts to adjust to 21^st century Earth culture and convince people, including SHIELD agent Coulson (Clark Gregg) and Jane, of this true identity, he begins to learn the lesson Odin intended for him through his banishment. Meanwhile, with Thor out of the way, Loki plots to attain the throne and rule the Nine Realms.

Branagh brings a bit of King Lear, Henry IV and Othello to the subtext of “Thor” although it’s still a superhero action movie. And he also does an effective job with the special effects, especially the bridge that allows travel between realms. In addition, Branagh has assembled a stellar cast. Chris Hemsworth is capable as the God of Thunder, possessing not only the physique and good looks for the part, but the ability to express a range of emotions necessary to show the emotional growth Thor undergoes. Tom Hiddleston demonstrates the conflict Loki has so he becomes less of a clear-cut villain. Unfortunately, the rest of the exceptional cast doesn’t have a lot to do because the script, typically, focuses on the action. Nonetheless, “Thor” is an enjoyable popcorn movie that is better than expected. 5/6/11

Exporting Raymond - 3 smiles

The sitcom form didn’t exist in Russia until Sony agreed to send scripts of I Dream of Jeannie, The Nanny and Married… With Children to be adapted for Russian audiences. “Exporting Raymond” offers a humorous inside view of what goes on behind the scenes as this beloved US hit gets retooled for the Russian market. Against all odds, Everybody Loves Kostya goes on to become the No. 1 show on Russian television, which gives this culture-clash documentary an uplifting conclusion. The real key to the doc’s appeal, however, is its writer/director Phil Rosenthal, creator of the long-running CBS sitcom. Sent to Moscow to supervise development, Rosenthal took along a small crew to document the events. No one will deny the importance of Ray Romano and the chemistry of his cast-mates in making Raymond such a hit. But exposure to Rosenthal reveals just how much of his persona went into Ray’s character along with Rosenthal’s bickering parents’ influence on Marie and Frank.

The biggest problem Rosenthal encounters, which underscores the difficulty of finding cultural equivalents in humor, is that the Russians don’t find the family dynamic a source of humor. The Russian director and writers insist on making Kostya more assertive and less henpecked. The costume designer wants Kostya’s wife to be more of a fashionista, cleaning house in cashmere and heels. And since Rosenthal’s show relies more on deadpan verbal comedy rather than on the broad pratfalls the Russians are used to, Rosenthal has a fight on his hands. Nonetheless, Rosenthal navigates the cultural divide with wry humor (and a lot of whining) as he finally comes to understand that he has to relinquish some control because, after all, how he feels about the show’s development is immaterial. On the other hand, viewing clips from the American version with their reworked Russian versions is highly entertaining as is his encounters with his enigmatic driver, Eldar, who takes Rosenthal on a not-so-fun tour of a Soviet munitions museum. 4/30/11

Fast Five - 3 smiles

“Fast Five” is a hugely entertaining combination of absurd action, wacky humor, scorn for the laws of physics and an emphasis on family values. Director Justin Lin crafts stunts and crashes that zip along at such a frantic pace that you won’t care how utterly impossible they are. And screenwriter Chris Morgan devises a story that’s part heist, part car chase and part buddy story. And there is even a surprise or two. You’ll want to stay through a portion of the end credits to catch one of them, a tease for the franchise’s sixth installment. After Brian (Paul Walker) and his girlfriend, Mia (Jordana Brewster), break Dom Toretto (Vin Diesel) out of police custody in a relatively easy prison-bus escape, they head to Rio de Janeiro. There the three join a daring car heist that puts them at odds with a local crime boss Reyes (Joaquim de Almeida) and sets super agent Hobbs (Dwayne Johnson) on their trail. Needing money to disappear, Dom decides to get the band back together to steal millions from Reyes. Returning as part of the team are Tyrese Gibson, Chris “Ludacris” Bridges, Sung Kang, Gal Gadot, Matt Schulze, Tego Calderon and Don Omar. Elsa Pataky joins the cast as possibly Brazil’s lone honest police officer, a woman tapped by Hobbs to help him chase down Toretto’s gang.

Of course, the characters in this franchise are larger than life and, needless to say, underdeveloped. This movie is about materialism, macho men and extreme violence, all of which are exaggerated to the point of caricature. At one point, our heroes drag a 25-ton safe behind them, demolishing the first floor of a bank, crashing into passing vehicles, and wiping out the whole Brazilian police force. Obviously, “Fast Five” exists in a fantasy world where ordinary mortality doesn’t apply and the audience knows it as well as the filmmakers. And the movie’s insistence that its motley crew of misfits is bound by a shared set of deeper values accounts for some incongruous sweetness. Yes, most of the movie’s running time is filled with adrenalin-pumping action, but these people know and love one another. Diesel’s Dom Toretto is a gruff but affectionate father to his loyal pack of renegades. Don’t think too much about the plot holes in “Fast Five.” Just enjoy the ride. 4/29/11